I called Ostrow & Company, which is a producer’s rep and sales agent that’s been around since the year 2000. They represent low-budget feature films, but have also successfully represented several microbudget films in the past. They have a fee of $12,000 for their services, but the testimonials on their website and their claimed 90% success rate suggest they are legit. (They money goes primarily to research where and how your film will fit into its market, and working their list of contacts to try and get you distribution.) They don’t accept every film submitted, and are actually quite picky, only accepting the ones they think they can successfully market.
They did say they’d be interested in a film like 15 Minutes of Faye though, even though it has such a small budget and no stars. Good story and characters are more important to Ostrow than star power, though that does help too. More than anything, they said marketability is the #1 thing they look for when choosing whether to represent a film or not. They accept open submissions, and they also actively scout the festival circuit, which they said is the most important source of films they represent. They say they know of every film that’s in any major or regional festival in the U.S. For clients, they target films they a.) think will be marketable, and b.) know don’t have distribution yet, and they approach filmmakers at each festival prior to the festival’s start.
When submitting your film to them to be represented, it’s better to work up a relationship with someone who works for them first, instead of sending your screener in cold. They’re more likely to pay attention to your film if they know it’s coming in advance. If your film is screening in a major or regional festival, it’s even more likely they’ll want to represent you. Ostrow does both narrative and documentary films, but no experimental films.
Footnote: Since I’ve read that sales agencies which require a fee to represent filmmakers are shady, I looked up some online reviews of Ostrow & Company. The reviews are fairly mixed, with some filmmakers calling them scam artists while others claim they are extremely reliable. There were more positive reviews than negative reviews though.
Monday, March 26, 2012
Monday, March 19, 2012
Bullfrog Films
I called Bullfrog Films, mentioned by Jon Reiss as one of the major players in the educational market, and spoke with Elizabeth Stanley, who was really friendly and eager to help. She said that while Bullfrog Films usually does not acquire narrative films, there are exceptions, but usually with biopics: fictionalizations of the life of a famous scientist, politician, etc. She said she’d have to see our films first in order to make a decision, but Bullfrog Films probably would not be interested in most narratives or experimental films. I specifically asked about Nils’ documentary, but she said films dealing with spirituality are not a strong part of their collection, and she couldn’t find any spiritual titles in their database. Bullfrog Films is also uninterested in films about filmmaking, or behind-the-scenes featurettes (unless the featurettes are specifically about one of the films they acquire, in which case they’d be a selling point).
I also asked her about a hypothetical scenario, in which all of our films perfectly fit in the Bullfrog collection - would she acquire a bundle of films? Basically, no. Each film is always considered on its own merits, and Bullfrog does a separate contract with each producer. The only scenario in which a bundle of films would be considered would be if a single producer has more than one film (s)he produced, and both films fit well into Bullfrog’s collection. She did mention that Bullfrog has relationships with film cooperatives, though.
Ms. Stanley specified that the length of your film is very important in the educational market. Under an hour is very important for high school, while colleges and universities aren’t as particular about length. Having two different running times of your film is a selling point. Study guides and bonus features are also selling points.
For more information, she pointed me in the direction of the National Media Market (www.nmm.net), a conference held every fall at which all of the educational distributors show up. She also recommended Bullfrog Communities.com, especially if we have films relevant to their collection whose filmmakers are interested in public group screenings where admission is charged.
I also asked her about a hypothetical scenario, in which all of our films perfectly fit in the Bullfrog collection - would she acquire a bundle of films? Basically, no. Each film is always considered on its own merits, and Bullfrog does a separate contract with each producer. The only scenario in which a bundle of films would be considered would be if a single producer has more than one film (s)he produced, and both films fit well into Bullfrog’s collection. She did mention that Bullfrog has relationships with film cooperatives, though.
Ms. Stanley specified that the length of your film is very important in the educational market. Under an hour is very important for high school, while colleges and universities aren’t as particular about length. Having two different running times of your film is a selling point. Study guides and bonus features are also selling points.
For more information, she pointed me in the direction of the National Media Market (www.nmm.net), a conference held every fall at which all of the educational distributors show up. She also recommended Bullfrog Communities.com, especially if we have films relevant to their collection whose filmmakers are interested in public group screenings where admission is charged.
Distribution Windows for 15 Minutes of Faye
1. Theatrical
N/A - It is nearly impossible for a microbudget film to get a theatrical distribution deal, especially without cross-collateralization. Four-walling and other similar options are cost-prohibitive.
2. Semi-theatrical
N/A - My film will not appeal to museums, schools, etc. I would not be able to find a large enough audience to fill semi-theatrical venues because there is no obvious core community who would automatically attend my film without cost-prohibitive marketing. If I can find small hipster bars which would agree to hold paid screenings of my film, I would consider these screenings as long as marketing to the bars’ patrons would be cheap enough.
3. Cable VOD
N/A - Cable VOD is usually reserved for large films which can reach a wide audience. My film would not play well here.
4. TV + Free VOD
AMC Networks holds somewhat of a monopoly on U.S. channels which acquire indie films - it owns both the Sundance Channel and IFC. Despite the fact that getting a distribution deal with these companies is still nearly impossible for the smallest films, I think my film would fit right in on their channels in terms of genre and tone. Generally, Sundance and IFC don’t acquire films unless they have a festival pedigree, or some other type of clout. Neither channel accepts unsolicited submissions, so there’s no point in contacting them.
I don’t know of any other TV channels which acquire films like mine, and couldn’t find any. If you’re aware of any, please let me know.
5. Educational
Buyers include Bullfrog, Icarus, California Newsreel, Cinema Guild, and other smaller companies. Most focus exclusively on documentaries, but Bullfrog may be interested in narrative biopics. See my other blog post about Bullfrog Films for more information.
Contact info:
John Hoskyns-Abrahall
John@bullfrogfilms.com
6. Foreign TV
ID Communications is a foreign sales agent which actually specializes in micro- and low-budget digital films. It has the usual doc and horror lists, but it also does straight-up drama films, and appears to have had success selling such films at international markets.
Contact info:
contact@idcommunications.org
Another option which I’ve mentioned before is Bankside Films, a London-based sales agency that also deals with distribution. Bankside has sold small films like mine in foreign markets. They distributed In Search of a Midnight Kiss (produced for only $12,000) internationally, and You Instead, a low-budget film about a female rock star similar to my film.
Contact info:
Stephen Kelliher - Head of Sales & Marketing
stephen@bankside-films.com
+44 (0)20-7734-3566
7. Retail DVD
N/A - Physical media is on its way out, and will be even further gone by the time my film is ready for DVD distribution a year and a half from now. From Jon Reiss’ description in Think Outside the Box Office, the splitting of rights and deliverables lists seem like unnecessary burdens, when you could just sell the DVD (or streaming/downloadable media) on your film’s website, using an effective online marketing campaign, and keep all of the revenue.
If I were to pursue DVD distribution, some companies which have distributed films similar to mine are:
-Olive Films
-Avatar Films - E-mail acquisitions@avatarfilms.com
-Microcinema International - E-mail info@microcinema.com
-IndiePix - Submissions guidelines
While poking around their websites, I discovered an upside of DVD distribution: unlike television and theatrical distribution companies, DVD distribution companies usually accept unsolicited submissions.
8. Direct DVD
N/A - Same as above.
9. Hulu/Netflix + Other Internet
There are several sites I will consider when distributing my film:
-Distribber (and similar sites)
-Netflix (currently acquiring boatloads of long tail content)
-Hulu
-iTunes
-Amazon VOD
-YouTube
-Babelgum (e-mail content@babblegum.com)
-Mubi
-Jaman (submission page on website)
One great thing about online distribution is that - as far as I know - online distribution deals are sometimes non-exclusive, leaving you free to pursue deals with other companies, and sell your film on your own website. (Babelgum is a notable exception.) There are plenty of other, smaller distribution sites, but I’d like to go with reputable sites which have good track records.
10. Direct Internet from your site
I liked what I read about the sites in Think Outside the Box Office which could help with DIY distribution:
-Film Annex
-Youreeeka
-Stonehenge
-Amazon
If 15 Minutes of Faye doesn’t get much festival play (and maybe even if it does), my plan is to sell the film from my website as download-to-own, streaming, and DVD (whichever the buyer prefers). Depending on pricing, I’ll probably have to sell around 2,000 copies to break even. Once the film is available to purchase on my website, it’s just a matter of executing an effect grassroots marketing campaign.
I have several resources for this:
-Reaching out to the community of people who helped make the film, including the venues and bands, and their fan bases.
-Coordinating with the authors of The Narcissism Epidemic, the book which partially inspired me to make the film, to reach their readership.
-Publicizing the film on the Campus Moviefest network, as part of the grant we won from them.
-Reaching out to online film blogs and publications.
-Getting as much local press as possible, and holding free local screenings at which we sell DVDs. (A few of our filming locations have already offered to do this for us.)
-Creating a six-episode web series featuring characters from the film, to help market the film online.
-Posting BTS “Making Of” documentaries online, and passing them around to the online film community.
-Promoting the film with ads on Facebook and Google.
-Marketing the film to guidance counselors trying to help people. (I’m still in contact with several of my high school teachers, who have supported the film and may be willing to help with this.)
-------------------------------------------------------------------------------------------------------------
A note on film festivals:
When I refer to the necessity of my film playing in festivals, I am aware that festivals are from the old world and are increasingly irrelevant in an online market. I have no misconceptions about my film becoming the next big thing on the festival circuit, obtaining a big distribution deal, or building massive levels of buzz. Despite that, I also know that no film like mine has ever succeeded anywhere outside of the festival circuit. (If I’m wrong about this, please let me know.) Plus, the FAQ pages of most DVD and online distributors continue to mention film festival play as a major selling point. So although the odds are obviously against me, the festival circuit is a logical place to start for my film. My goal with festivals is not fame (wouldn’t that be ironic?); it’s credibility. I will pursue other distribution options as well, but film festivals have always been and will continue to be a major goal for 15 Minutes of Faye, unless I discover a better venue through which to market it. Also, my film was relatively cheap to make, like all the others here at UCF. Even the smallest of distribution sales could allow me to break even, which is all I care about, since the film was self-financed. My primary goal is to get the film seen by as many people as possible. Financial concerns are secondary.
N/A - It is nearly impossible for a microbudget film to get a theatrical distribution deal, especially without cross-collateralization. Four-walling and other similar options are cost-prohibitive.
2. Semi-theatrical
N/A - My film will not appeal to museums, schools, etc. I would not be able to find a large enough audience to fill semi-theatrical venues because there is no obvious core community who would automatically attend my film without cost-prohibitive marketing. If I can find small hipster bars which would agree to hold paid screenings of my film, I would consider these screenings as long as marketing to the bars’ patrons would be cheap enough.
3. Cable VOD
N/A - Cable VOD is usually reserved for large films which can reach a wide audience. My film would not play well here.
4. TV + Free VOD
AMC Networks holds somewhat of a monopoly on U.S. channels which acquire indie films - it owns both the Sundance Channel and IFC. Despite the fact that getting a distribution deal with these companies is still nearly impossible for the smallest films, I think my film would fit right in on their channels in terms of genre and tone. Generally, Sundance and IFC don’t acquire films unless they have a festival pedigree, or some other type of clout. Neither channel accepts unsolicited submissions, so there’s no point in contacting them.
I don’t know of any other TV channels which acquire films like mine, and couldn’t find any. If you’re aware of any, please let me know.
5. Educational
Buyers include Bullfrog, Icarus, California Newsreel, Cinema Guild, and other smaller companies. Most focus exclusively on documentaries, but Bullfrog may be interested in narrative biopics. See my other blog post about Bullfrog Films for more information.
Contact info:
John Hoskyns-Abrahall
John@bullfrogfilms.com
6. Foreign TV
ID Communications is a foreign sales agent which actually specializes in micro- and low-budget digital films. It has the usual doc and horror lists, but it also does straight-up drama films, and appears to have had success selling such films at international markets.
Contact info:
contact@idcommunications.org
Another option which I’ve mentioned before is Bankside Films, a London-based sales agency that also deals with distribution. Bankside has sold small films like mine in foreign markets. They distributed In Search of a Midnight Kiss (produced for only $12,000) internationally, and You Instead, a low-budget film about a female rock star similar to my film.
Contact info:
Stephen Kelliher - Head of Sales & Marketing
stephen@bankside-films.com
+44 (0)20-7734-3566
7. Retail DVD
N/A - Physical media is on its way out, and will be even further gone by the time my film is ready for DVD distribution a year and a half from now. From Jon Reiss’ description in Think Outside the Box Office, the splitting of rights and deliverables lists seem like unnecessary burdens, when you could just sell the DVD (or streaming/downloadable media) on your film’s website, using an effective online marketing campaign, and keep all of the revenue.
If I were to pursue DVD distribution, some companies which have distributed films similar to mine are:
-Olive Films
-Avatar Films - E-mail acquisitions@avatarfilms.com
-Microcinema International - E-mail info@microcinema.com
-IndiePix - Submissions guidelines
While poking around their websites, I discovered an upside of DVD distribution: unlike television and theatrical distribution companies, DVD distribution companies usually accept unsolicited submissions.
8. Direct DVD
N/A - Same as above.
9. Hulu/Netflix + Other Internet
There are several sites I will consider when distributing my film:
-Distribber (and similar sites)
-Netflix (currently acquiring boatloads of long tail content)
-Hulu
-iTunes
-Amazon VOD
-YouTube
-Babelgum (e-mail content@babblegum.com)
-Mubi
-Jaman (submission page on website)
One great thing about online distribution is that - as far as I know - online distribution deals are sometimes non-exclusive, leaving you free to pursue deals with other companies, and sell your film on your own website. (Babelgum is a notable exception.) There are plenty of other, smaller distribution sites, but I’d like to go with reputable sites which have good track records.
10. Direct Internet from your site
I liked what I read about the sites in Think Outside the Box Office which could help with DIY distribution:
-Film Annex
-Youreeeka
-Stonehenge
-Amazon
If 15 Minutes of Faye doesn’t get much festival play (and maybe even if it does), my plan is to sell the film from my website as download-to-own, streaming, and DVD (whichever the buyer prefers). Depending on pricing, I’ll probably have to sell around 2,000 copies to break even. Once the film is available to purchase on my website, it’s just a matter of executing an effect grassroots marketing campaign.
I have several resources for this:
-Reaching out to the community of people who helped make the film, including the venues and bands, and their fan bases.
-Coordinating with the authors of The Narcissism Epidemic, the book which partially inspired me to make the film, to reach their readership.
-Publicizing the film on the Campus Moviefest network, as part of the grant we won from them.
-Reaching out to online film blogs and publications.
-Getting as much local press as possible, and holding free local screenings at which we sell DVDs. (A few of our filming locations have already offered to do this for us.)
-Creating a six-episode web series featuring characters from the film, to help market the film online.
-Posting BTS “Making Of” documentaries online, and passing them around to the online film community.
-Promoting the film with ads on Facebook and Google.
-Marketing the film to guidance counselors trying to help people. (I’m still in contact with several of my high school teachers, who have supported the film and may be willing to help with this.)
-------------------------------------------------------------------------------------------------------------
A note on film festivals:
When I refer to the necessity of my film playing in festivals, I am aware that festivals are from the old world and are increasingly irrelevant in an online market. I have no misconceptions about my film becoming the next big thing on the festival circuit, obtaining a big distribution deal, or building massive levels of buzz. Despite that, I also know that no film like mine has ever succeeded anywhere outside of the festival circuit. (If I’m wrong about this, please let me know.) Plus, the FAQ pages of most DVD and online distributors continue to mention film festival play as a major selling point. So although the odds are obviously against me, the festival circuit is a logical place to start for my film. My goal with festivals is not fame (wouldn’t that be ironic?); it’s credibility. I will pursue other distribution options as well, but film festivals have always been and will continue to be a major goal for 15 Minutes of Faye, unless I discover a better venue through which to market it. Also, my film was relatively cheap to make, like all the others here at UCF. Even the smallest of distribution sales could allow me to break even, which is all I care about, since the film was self-financed. My primary goal is to get the film seen by as many people as possible. Financial concerns are secondary.
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